Видео

Hi! What did you use for the fire extinguisher?

The actress hit by a door to unconsciousness, how's it done? I'm fairly sure all the slapstick dragging thru the window is done to a mannequin (however I always question myself on it while watching), but if that's true, how do you replace the actress with a puppet on a moment's notice in front of everyone? Thank you for the very interesting video!

**ahem** SPOILER ALERT!!

Hey! Is there any edits you would make to this design if you were to build it again? Also, how much weight did you end up needing on backside?

Thankyou for sharing these videos. But this one especially !!!! Our playhouse is planning on doing this next year and we are trying to get ahead of the schedule. Seeing what is involved This is great Thanks

Fantastic! Great work!

More interesting than the actual play.

Looking at your flat frames for the collapsible walls, are they made from 1x4's? They look thicker than the other flats. They also look like 6'x8'ish wide, not the standard 4x8. That header is really long (18ft?), did you have any issues with it sagging in the middle? You must have had those pillars secured well to the stage floor to keep that whole side secured, especially with the door flat being in the middle.

I would really love to see a picture of the toggle for the door as I cannot for the life of me figure out how they actually unhinge so they don't get seen. Are they modified in some way. Do you have a poroduct name for them. I love how that works. Getting ready to do this with my high school fall 2023

Would love to see you approach "The Comedy about a Bank Robbery" (also MTC, did 3 years on West End) - another very physical and technical build but great fun.

Like, I knew elevator had counterweight because it's important that both sides weight the same so that there is little actual effort. But, somehow, the explanation that you had to add weight to counterbalance the weight of the comedian and furnitures was mind blowing. I had not realized that it's possible that it requires little effort, that there can be a moving equilibrium. Magnificent!

Fascinating, the technical aspect is honestly more fascinating than the show itself.

Bro I loved this play and I didn`t know it had a youtube channel

Not knocking your technical solutions but I've never found a play in the "goes wrong" series funny, Noises off is still far superior but dated and really needs a modern upgrade as well as pretty much anything Spymonkey have done. I've done a bit in technical theatre mainly with large scale pyro but I always take an interest in the other mechanical aspects. Most shows I've worked on have had someone dedicated to supervising all the technical stage gags separate to the overall stage manager.

ACORS: ALWAYS BE NICE TO THE CREW. ALWAYS. THEY CAN KILL YOU. (OR, AS IN MY CASE BECAUSE THEY LIKED ME,) THEY CAN SAVE YOUR LIFE. THEY CAN CUT SOUND ON YOUR MIC. THEY CAN ENSURE YOU ARE NEVER SEEN BY TURNING YOUR LIGHT OFF. ALWAYS BE NICE TO THE CREW. ALWAYS....

This is my first exposure to this show, and I may just have to propose this one for our next season. It looks like a hoot, and I'd love to try my hand at that collapse!

You need to hire Dylan Mulvaney to prance around in red high heels, and talk about how wonderful your cantilever is. Then give 'her' a big kiss.

Saw this play at the Hall for Cornwall in Truro (UK) 3 years ago - it was great!!

The gag isn't as funny without the entire wall falling down. It looks more contrived to keep the header and pillers in places.

I saw this show in LA a few years back, it's so interesting to see how this operates back there. Thanks for making this video!

And here I was thinking our homemade Audrey 2 was the most complex thing a school production would do… damn this is impressive

so if rhe 2in box is the pivot.... why the bearings.....

Ingenious!!

Excellent Job!

So unbelievably fun, we were surprised by the original cast last year and they were all brilliant!

I love the philosophy behind this, which can be applied to so many things.

Saw this play in the West End, it's so funny and it's cool to see how you have achieved the same effects!

Absolutely get to know your actors. Take some time, before or after a rehearsal, to talk with them about anything they interact with, how they feel about anything from a technical stand point, especially any triggered or moving effects. Have them go through their routine while you stand near them or next to them so you understand what they see, what they expect, etc. In costume if possible. I did haunted houses for a long time, and we made it a point to go through each characters position and talk with them. Watch them do their scare and anything they might trigger, or hide-y hole they used. Ask them things like 'would it be easier to have a handle here', 'does this light give you away,' 'can you hear the next group so you know to be in position,' 'have to noticed any faults,' literally anything they might have thoughts or concerns about. Also we would work with them on things like "okay, when you jump down you grab this post, do you need that? Or is it just for the gag? You need it to steady yourself, okay, its not meant to take that, its just for show, gimmie a minute Ill shore it up so you could slam into it if you wanted and it wont budge", "You have hard time getting through this hole? Show me......Ah okay, if you step with your left, and we widen this gap that should work better [cuts out piece of wall] Okay come down, do your thing, but step in with your left foot then turn into it. That looked great from out here, does it feel safe? You're good with that? If it feels like you're going to do a header, tell us, we can just rip this bit out an do a black curtain....Okay, cool. Be safe, and remember, left foot first," and always remember to let them know of dangers, "okay, all of that is good, but look up here, yeah if youre going to fall, this isnt a safe thing to grab, just go down and sell it, or fall to the side here. Worst case go through this wall, its fine, its just scenery, we can fix it, its no big deal if worst comes to worse. We dont care about this wall nearly as much as we care about this thing that looks like a hand hold but its holding up the amps for this section. Besides, the wall will probably be softer than having all that come down on you. Really, its ok, its just a wall." (I did mention I did a lot of haunted house work, right? 😅The actors were basically stunt people, throwing themselves around, falls were expected. But we made sure they knew where it was and was not safe to fall. The flats were luan and gray paint with a texture, sometimes foam brick work facades, repairs could be done in the 3 minutes between groups a lot of times.) Work with them to make their performance the best it can be, but also train them on the bits they will be interacting with. If you do it right, and they take it seriously, they can be your second set of eyes and if something goes wrong they can tell you exactly what is out of place and you can get it fixed quickly instead of waste time trouble shooting. Or if you have to ditch a gag because its too far gone, both of you are aware enough of what each other do that it shouldnt take too long to figure out a bandaid for the rest of the show/night. I always hated the hurry up and wait, but I love the building stuff, installing, tuning, working with performers, getting timing down, fine tuning, and even the odd quick bodge repair to get things going again. Theater tech is a blast! Its like performing without having to perform 😂

As a 10 year technician for a pair of fairly large haunted houses (a friend ran, and I was the resident nerd, so I got 'make it all move and blink' duties, they were creature effects artists by trade) Id just like to say..... OH MY FREAKING GOD YES!!!! I LOVE BEHIND THE SCENES STUFF!!! IT DOESNT RUIN THE MAGIC IT MAKES IT BETTER!!!! Thanks for sharing your tricks! The industry (themed effects, creatures, animatronics, from movies, to stage, to practical, everything) has a real problem with people not sharing their craft with others. Sure, maybe at a meeting of some sort, either a gathering, or convention, or whatnot. But the way its been for a long time is unless you happen across someone in the same industry in person or the off chance in a forum, there is simply no viable way to gain this knowledge and experience. It has legitimately crippled sections of the industry. There are classic effects that everyone over 60 knows how to do, but everyone under 40 hasnt the slightest clue. And eventually that skill, that knowledge, gets lost to time. All because no one shares the techniques, tips, tricks, methods of achieving those effects. Its honestly saddening the amount of knowledge that gets forgotten because some old salt either doesnt want to share how he does a thing to ensure future work or whatever, or simply because he never talks about it, no one asks, and it dies when they do. Forever lost. As technicians, I love nerding out over all the weird, inventive, techniques and especially the fevered panic 'THE SHOW IS STARTING IN 5 MINUTES!!!! AND I NEED TO GET THIS GOING!!!!' or my favorite "Ok, hold the next group for a minute, I need to get a ladder in here and fix that thing stuffed up on top of that wall......SHIT! Thats the show just before this room! I told them to hold......fuckfuckfuckfuckfuckfuck DONE!!! CATCH THIS TOOL BAG AND RUN!!! [slides down ladder and makes it out emergency exit just as the tour gets to that room......wait for them to pass......slide back in behind them, play it cool, just another person in the group......then slide through a secret door into the control room to trigger the next show before the guide figures its glitched and moves on]" stories weve all accumulated over the years. I for one enjoy knowledge dumping on newbies looking to get into effects tech, watching them come up with solutions, some old but they figured it out on their own, some absolutely out of left field but is a far better way of doing things. To prevent the crafts from dying we need to welcome people into taking backstage tours, seeing how its done, showing off the other side of the stage and what goes on. Because, lets be honest, unless youre the actor type, backstage is where the fun really is ;) It doesnt take away from the magic. It makes it better.

As a theater techie and someone who was absolutely enamored by TPTGW in NYC, this is the exact video I wanted to see. Thank you!

We used hydrolic for the platform

[weird, I would not want to get up on that contraption.]

After seeing this, and understanding about 1/5 (not his instruction, but my lack of savvy with the whole idea of something this “tech”nical), I would let him build my house. A play has a whole other world the audience doesn’t see. The artists who make things work backstage (and on) are truly the heartbeat of a production.

When I saw the show on tour, I screamed with the rest of the audience because my fear of heights kicked in during this scene.

You should patent this. Nicely done.

These are a lot of fun. I wondered if licensing the script included set engineering designs from the original, but it sounds like not.

Love these videos! Elevator can be solved with a lot less backstage real estate using pretty simple (and not expensive) dynamic circus trapeze rigging attached to a platform with a couple of vertical rails for stability and noise reduction. It would work with the same 2 assistants that deal with the falling platform, in climbing harness moving up and down a fixed ladder on either side of the elevator as counterweights. Any aerial act that goes up and down has this setup, and it's a lot more compact and performance focussed than stairs, and safer than a ladder for that stuck elevator trick. The original cast had to do a lot of circus training in order to safely do the slapstick, so this can be integrated fairly easily.

I saw this in the West End and _knew_ it must be a string of miracles of engineering and electromagnets behind the scenes. Mischief Theatre is incredible, nice job with your version!

Because "RUclips" is as "RUclips" does, I was presented this series out of order … no matter, no matter … I've only worked Sets | Tech on ~18 shows, but I'd love to tackle a "Goes Wrong" show - at least I say that "hypothetical", if it ever comes true, I might be a bit sorry …

Wow! !! !!! I can't wait to see my 1st "Goes Wrong" production at any level, but, having been apart of Set Design | Construction for a dozen & ½ productions, this gives me heartburn thinking about it! !! !!! Looks like a fabulous solution! !! !!!

Go Bison!

Ive been really enjoying learning about the stagecraft of the show. So many classic effects.

I'm glad it was just for the play and not an accident. When I saw the title, I got the wrong idea, lol

i love these behind the scenes tutorials

I did it at a small black box community theatre (I was Trevor) so we had to get creative with how we did it. Our falling platform didn't have to have support for weight since no one would be walking on it. Our second floor was larger, so the actors up there could be up there without stepping on the falling platform. We had 2 triangle floor pieces supported by hinges and a support pole that Arthur the Gardener fell into. The pole was latched to the floor and platform during act one, and during intermission we would discreetly unlatch it for the fall. We tried a full square piece but it kept getting stuck and would fall about half the time. Two falling triangles were consistent and smaller/lighter so less chance of error. ruclips.net/video/r3fxMd804ZM/видео.html

Good call on the door hinge issue! Magnets would have given you a lot of problems! You'll have a good career if this is what you want to do.

As someone who has been the guy running backstage for 30+ years, this show would be so fun! I've done shows that have complicated moments, but this is a constant go! Well done!

These were super interesting videos! I always love to see behind the scenes stuff, it's always really impressive to me!

When the touring show came to Dallas they did this stunt and not one minute later a malfunctioning fire alarm went off. They then had to reset the floor and do it again. It was literally the play that went wrong.

Just opened our production last week! So cool to see how you did this compared to ours